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Friday, 31 May 2013

Adam Ahlbrandt's The Cemetery is an even more blood soaked, horiffic vision than his previous movie Cross Bearer. Coming off like a more serious nod to movies such as Evil Dead and The Convent, whilst also crafting something far more scarier than those two movies could ever imagine, The Cemetery is an incredible achievement for Adversary Films, and the indie horror scene in general.

The movie follows a film crew and an amateur actress who are visiting a cemetery to search for something paranormal. The reasoning behind this? One of the group broke into a church and stole a book that says that the cemetery they are visiting has an old and dark secret. In 1671, a settlement was built over Indian holy ground, and this unleashed a demonic force that possesses men, women and children and turns them into blood thirsty ravenous fiends. The church attempted to contain the outbreak, but could find no way of stopping the demonic force. Many ways to distinguish the evil were tried, such as skinning the possessed amongst other things. It was found out the only way to stop them was decapitation. Now the team of investigators are in the very cemetery where these events happened, and when one of them cuts her finger and splashes blood on the ground, an ancient evil is awakened once more.

This film has everything any horror fan looks for. Scares, a dark atmosphere, lots of blood and a very talented group both in front and behind the camera. The acting is natural, never over the top, and comes across as believable. The setting of the movie is dark, unsettling and is almost a character in itself, giving the movie even more life. The gore in the movie is free flowing and very well done. The Cemetery definitely contains some of the best effects seen in modern cinema. Films such as this certainly make a huge case for the pluses of prosthetic effects as opposed to CGI.

Adam Ahlbrandt certainly doesn't allow any forms of reassurance or comfort in his movies, assaulting the viewers senses and eyeballs with scene after scene of gritty violence and perversion. Horror really is horror where Adversary films are concerned. With both Cross Bearer, and now The Cemetery, Adam Ahlbrandt is definitely a name for all horror fans to watch out for, as he really does have a firm grasp of what is scary, horiffic and he certainly knows how to make a really good horror movie.

Arrow Video have done it again! Not only do you get the amazing Black Sabbath (which is the name the film was given by American studio AIP upon it's release in the US), restored and remastered, but you also get the original (and in my opinion far superior) Italian version which is called I tre volti della paura. Both versions of the movie have many differences, such as the order of the stories, some of the stronger horror elements being removed from the US version, and differences in sound and music. Hopefully, this release, and the other Bava releases from Arrow Video will open up many new horror fans eyes to the master of Italian horror cinema, Mario Bava.

The three stories comprise of The Telephone (the first story in I tre volti della paura,was drastically changed for the US version, and was placed as the second story), which is a Giallo inspired tale, and in my opinion, the slowest of the stories. Second in I tre volti della paura comes The Wurdulak (this is the Third story in Black Sabbath), a dark and atmospheric tale of vampirism starring Boris Karloff, who also book ends I tre volti della paura, and in Black Sabbath, introduces each of the three stories. The final story is called A Drop of Water, and is certainly the most atmospheric and chilling story in the movie (in the US version, this is the first story), and features one of the most disturbing and eerie looking corpses I have ever witnessed in a horror movie.

Both versions of the movie show extensive re-mastering, and certainly
attest to Arrow Video's commitment in giving you the best viewing
experience they can. The colour is rich and deep, the sound amazingly
clear and heavy, helping to create the perfect atmosphere, which is one of the main drawing points of any of Bava's movies.

The extras on the discs are extensive, informative and entertaining, and Arrow Video have certainly outdone themselves with this release. There is a commentary on I tre volti della paura by Bava biographer Tim Lucas, a documentary discussing the many differences between I tre volti della paura and Black Sabbath called Twice the Fear, an interview with Mark Damon, one of the films stars, an introduction to the movie by Argento biographer Alan Jones and various trailers. There is also a deluxe booklet (as with all Arrow Video releases) about the movies history written by critic David Cairns and AIP president, Samuel Arkoff.

Black Sabbath/I tre volti della paura really are incredible movies, and a testament to the talent that Bava possessed. Atmosphere creeps from every frame, drawing the viewer into the darkness on the screen and enveloping them in the creepy and disturbing goings on.

You can by the Blu-Ray/DVD combo pack of Black Sabbath from Arrow Video by clicking HERE.

Wednesday, 29 May 2013

This movie will be reviewed by both me and Grimm. My review appears first, and Grimm's will follow below. I hope you both enjoy our ramblings and thoughts on the movie!

The third movie in the [Rec] franchise was surprising in many ways. The story follows two characters, Koldo and Clara, on their wedding day, which is rudely interrupted by people infected with the Madeiros girl virus. The film follows the characters through all kinds of gory and chaotic situations, and always manages to keep it's tongue planted firmly in it's cheek.

[Rec]³ Genesis takes things in a totally different direction than the previous [Rec] movies, replacing the fear and tension generated by the first two movies with splatter and comedy. It also ditches the found footage style after around twenty minutes, with the guy documenting the wedding saying "people have the right to see this" only for one of the main characters to smash the video camera, and the film then goes for a more traditional camera format.

This is an incredibly clever way of freeing the franchise from the found footage drama, whilst also allowing the director to have fun with the movie, whilst also building to the fourth and final movie in the franchise, [Rec] Apocalypse. It bugs me that a lot of people tend to put [Rec]³ Genesis down because it is fun. Fun is what sets it apart from it's predecessors, and anyone who even hints at it not belonging in the franchise, are taking things way to seriously themselves.

This movie is similar in tone to the awesome Evil Dead 2. There are some amazing moments of comedy, some incredible gore scenes, and some beautiful and touching moments between Koldo and Clara. Director Paco Plaza (one half of the twosome that directed the previous [Rec] movies) has made an old school infection movie that harkens back to the days of splatstick movies like the aforementioned Evil Dead 2 and Peter Jackson's Braindead (Dead Alive).

[Rec]³ Genesis is certainly worth a look. Just don't go in expecting the same old thing as the first two movies, and don't go in looking for something serious, and I am sure you will have a riot.

Darkest regards......Dani.

This is the crossover review. I have no idea what
Doctor Carnage's take on this film is, we just watched it and reviewed
it. Now we'll find out how different or alike our opinions are on this.

After
not knowing what to expect from the second film, I decided I'd stay
away from spoilers with this film as well. Sadly, this film strays far
from what the first two films had created. They drop the POV angle for
this film after a few minutes, and go live action style. I didn't like
what they did with this installment. They tried way to hard to be a
Resident Evil film, thus they lost that grip of reality the previous
films had.

I
liked that the film took place during a wedding and that it interlocks
with the previous films. The concept of this virus of possession
breaking out in the middle of a wedding ceremony is clever. However,
once the action picks up, you're just hit with gore effects. I know the
other films had gore, but this one showed it off, used the gore as a
means to make the movie better. That's not the case.

I
like a lot about the film, it had good things to go off of. I feel as
though they didn't know how far to take it and ended up losing the
integrity the series had. The good angles they worked from weren't done
in the idealistic way I wanted or expected.

I
liked that this film is a love story, that's good, we can work with
that. Then, it turns into too much of a love story! Every time the bride
and grooms see one another, dramatic music plays, and it becomes
over-the-top and just doesn't seem genuine or real at all.

The infected (yes, I said infected. They're not zombies),
certainly look good in this film. There are some jump-out-of -your-seat
moments, but they're just cheap jumps that have loud music accompany
them in order to achieve the scare. The makeup and gore wasn't used as a
means to tell the story any more. Instead, they use the gore and
effects to make the story good, and that's not how it works. Great story
is everything in a horror film, it's the foundation. I think they focused too hard on the wrong material to make this movie a success.

Overall,
this film is entertaining and a fun, gory mess. It's far from great
though and by far the weakest in the series. There are some twists and
turns that keep you invested in watching, but there isn't any good
payoffs. The ending is twisted and tragic, though I feel if this film
were meant to feel more realistic, it would have gone over better.

Tuesday, 28 May 2013

Here we have the first part in a collaboration with Grimm Reviewz. We will both be taking a look at the [Rec] series of movies, and giving you our thoughts on them. I will be reviewing [Rec], while Grimm will review [Rec] 2, and we will review [Rec]: Genesis together.

[Rec] is something incredibly different than what we are used to seeing in the found footage sub genre. What sets it apart from other films in the sub genre is the kinetic energy running through the entire movie. The set up really couldn't be any simpler. A reporter named Angela, and Pablo, her cameraman, are shooting a documentary following a Barcelona fire team in their station. There is an emergency call, and the team, along with the reporter and cameraman, rush to an apartment complex where the inhabitants are caught up in what seems to be a virus outbreak. As the apartment is quarantined, the situation becomes increasingly dangerous and spirals out of control for the fire crew and the reporters as well as the inhabitants inside.

A rather basic plot, but this movie pulls it off with incredible ease, not allowing the viewer any room for comfort.The movie is shot entirely through Pablo's camera, and this works greatly to the films advantage, placing the viewer right in the middle of the action. The amount of tension, horror and fear this viewpoint gives the audience is incredible. The fact that the movie does this, means there is no escape for the viewer. We are just as trapped as the people in the movie are.

It also gives a supernatural reason as to why the breakout of the virus happened, although if you don't understand Spanish, you may not pick up on this fact, as it is only hinted at through newspaper clippings found on the wall of the room where the Madeiros girl was held.

The final ten minutes have to be some of the most frightening moments I have ever witnessed in a movie. The intensity and tension is raised to almost unbearable levels, and the creature we see is so hideous, it really does get your heart racing. The movie does have a very real feeling of chaos and tension, and
the claustrophobia felt throughout is put across really well.

[Rec] is an incredible entry in the found footage genre, and should be viewed by anyone with even a passing interest in how the sub genre is progressing. Movies of any kind really don't get much scarier than this.

You can find part 2 of Grimm, Carnage and the Madeiros girl over at Grimm Reviewz later on today. Click HERE to check out his review of [Rec] 2, and all of his other posts!

Monday, 27 May 2013

Anthology movies seem to have become increasingly popular in the past few years. The Pyramid is an Italian horror movie, and one that deals with some pretty dark subject matter. There are four stories in all, each one progressing the story of the pyramid and the darkness it spreads further.

The movie opens with a hooded figure creating the pyramid. This sets the tone of the movie perfectly. The camera fades in and out of a place filled with chains, while the lone figure crafts the demonic device. The slow fades, darkness and tense feeling the opening creates does an excellent job of drawing the viewer in.

The first story, which is called The Ritual, tells the story of a man who happens to see the pyramid for sale in a shop. The object instantly catches his eye, and he pays a great sum for it. The pyramid has a very strange effect on the man, and while at first it came across as comedic, it drifted into the horrific with some grotesque FX that will have the viewer squirming in their seat. The music really reminded me of Goblin, as it is chaotic, and accompanied the scenes of horror with great effect. At it's core, it is a possession story, and the ending is nightmarish and disturbing.

The second story is called Dream Door, and is set around a young girl and her boyfriend. The girl came across the pyramid in the room the where the man was staying in the previous story. She takes it from the room and takes it back to her house where her boyfriend is drawing comics. This movie uses a technique that makes the viewer think what they are seeing is really happening, when it is in fact nothing more than a hallucination. This is another incredibly dark story, and one that buries deep into the viewers subconscious. It also manages to build tension incredibly well making this another solid segment.

The third story, Pestilence, is an incredibly fast moving story with lots of action. I found this segment to be reminiscent of Demons, or 28 Days Later, in that it involves infected humans who feast on the flesh of the living, and who also have a tendency to run after their prey. This story shows the spread of the pestilence that the pyramid gives off, and in that respect, it is similar to John Carpenter's classic Prince of Darkness. The camera work on this story is mostly hand held, and adds a much more tense feeling while keeping the action flowing.

Apocalypse is the forth story, and finishes the movie on a high note. The story follows two brothers on a quest to destroy the pyramid, which we discover is a key for the birth of someone rather unsavory. Gore is used to great effect in this story, and even though I did feel it ended a little too quickly, it was a fitting end to a great movie.

This movie could very well be the birth of a new era for Italian horror. It touches many sub genres and uses them to great effect, all the while blasting the viewer with grotesque images and incredibly loud and jarring noises. The movie has a very Italian feel to it, and that makes it all the more heartwarming.

If you are a fan of supernatural shockers, spaghetti horror movies or anthology movies, then you must see The Pyramid when it is released, because it really does resurrect everything and more we all loved about Italian horror, and brings it right up to date through a series of uncompromising and shocking segments that really are well put together, tense and frightening.

Sound is a very powerful tool. This powerful entity engulfs the entire run time of Berberian Sound Studio, serving as a gateway to paranoia, fear and enveloping madness. This is one slow burn horror/thriller that definitely buries itself deep in your mind, and does so with incredible ease.

The story is one of incredible simplicity, but it's how it unfolds that is the main draw of the movie. In the 70's, a sound engineer travels to Italy to work on the sound effects for a new gruesome Italian horror movie called The Equestrian Vortex. The film they are making is filled with sex, satanism and violence against women perpetrated by The Goblin (surely a nod to Claudio Simonetti's prog rock legends). His nightmarish task soon begins to amplify his paranoia, and eventually forces him to confront his past.

The movie is an ode to madness, with many nods to the greats of Italian cinema (for example, a black gloved projectionist giving a sly nod to the murderers in many Giallo movies). Amazingly, the movie contains very little violence. There are descriptions of what is happening to characters in the movie they are working on, and this is accompanied by gruesome sound effects which only serve to accentuate the feeling of horror. Watermelons are smashed, celery is twisted and snapped, all to accompany sickening sounds of the violence in the movie, and even though you don't see any of the acts taking place, the sound still manages to sicken.

Unfortunately, the film does unravel at the end, the main character spiraling into a madness that many of his co-workers have been displaying since the opening minutes of the movie. The violence the main character has been creating with his sound effects, begins to creep into real life. Or does it?

The final act was incredibly confusing, becoming a psychedelic mess with increasingly louder sound. It is so out there, weird and frightening at the same time, but I feel it just didn't gel with the suppressed feeling of what went before, but then again, this could be seen as a homage to many Giallo movies, with the main character plunging into a world of madness and despair.

If you are a fan of slow burn horror, then Berberian Sound Studio is most certainly worth a look, and even though the ending makes little sense (to me at least) it is a powerful journey about the power of one of the most overlooked aspects of cinema. The sound, and the madness it creates.

Sunday, 26 May 2013

Me and fellow horror blogger Grimm (of Grimm Reviewz fame) have decided to work together to bring our readers reviews of the Rec series of films. I will be handling the original Rec, while Grimm will be offering a fresh take on Rec 2. We will both be working together to bring you a review of Rec Genesis.

This is something different for both of our blogs, and I am sure it is going to be a lot of fun!! Watch out in the next week for the first review in the series, which will be my review of Rec.

Saturday, 25 May 2013

Vile and disgusting things have happened, and are still happening in the world. Some people take these things, and make movies about them. Some sensationalize the things that happen, and some do not show the viewer everything. Men Behind the Sun is one such movie that doesn't even begin to show what happened to the Chinese who were captured by the Japanese Unit 731, and believe me, it is still one of the most vile and disturbing pieces of cinema I have ever witnessed.

The whole movie, from the outset has such a nihilistic feeling about it. Cruelty is commonplace. Compassion is rare. The backbone of the story follows the training of a group of young recruits, who are sent to Unit 731 to learn about it's purpose and it's incredibly vile and depraved objectives. The film begins incredibly innocently, but it quickly disposes of any niceties and replaces them with what are in my opinion, the most grotesque and vile imagery I have ever seen.

In every review I have read about this movie, three spoilers are always given. I am not going to give anything away. I will say that the tone of the movie smothers the viewer with cruelty and oppression. The special FX are incredible. Not over the top in the slightest, but grounded in realism and incredibly disturbing. There are three scenes that do not feature special FX. One where a real cat is thrown into a room filled with starving rats, one where a young boy (who doubles for a real life cadaver which seems to have a mustache) has his organs removed, and one where a cadaver doubles for a man put into a pressure chamber. These scenes make the contents of the movie even more sickening, but the realism, be it FX or real, only adds to the despicable cruelty of Unit 731, and the real events that actually happened.

Despite the incredibly graphic nature, animal cruelty and using real cadavers, the movie is incredibly watchable, with superb acting and cinematography with lots of dark moody lighting and tight close up shots of the young soldiers reactions to the experiments.

I really couldn't recommend this movie to many, as it really is a sickening and disturbing piece of cinema. Those with a historical interest might have their interest piqued if they want to learn more about Unit 731, but casual horror fans, splatter fans and non-horror fans might do well to stay away, as this movie is in no way enjoyable, and will stay in the viewers mind for a long long time after.

Tuesday, 21 May 2013

I really cannot believe how lucky I am. I can't believe two of the biggest directors to break into the horror genre over the past 10 years, Sylvia and Jen Soska, would agree to an interview with me, never mind even reply to my messages. But I did get a reply, and I even got to ask The Soska sisters some questions about working in movies, Dead Hooker in a Trunk and American Mary. What follows is the interview in full. I hope you all enjoy this amazing opportunity I was given.

I first saw Dead Hooker in a Trunk on The Horror Channel in the UK. What did it mean getting your debut movie out to such a large audience?

S: It's the start of a life long love affair with the UK. We're pretty
smitten. The first festival screening was in the UK, the first DVD
release, and the first time on television - it's an honor to have that
kind of support for the film and the Horror Channel has always been so
kind and supportive of our work. It's wild because a lot of our biggest
support comes from the UK and it's because of the Horror Channel
audience and the Monster Pictures release of DEAD HOOKER that we were
able to reach out to so many people. I'm very grateful for the
opportunity.

J: It meant everything to us. I do have to say that the UK will always
have a big place in our hearts. When we were starting out and
struggling, the UK gave us every break. At Nia Edwards-Behi's GHOULS ON
FILM FESTIVAL, we had our very first screening for DHIAT. The support
never stopped coming from there. We go over there and the people are so
warm and welcoming. I sincerely miss the UK every day and all the
wonderful people we've met over there. Being horror fans ourselves, we
just hoped that our work would be appreciated by other fans. We overshot
it when we got the support of an entire country. And the UK Horror
Channel has never stopped. They play us all the time and we always love
to chat with them anytime we can.

Did the movie getting such a huge following change your lives in any way, and if so, how?

S: Absolutely, if we hadn't gotten the support that we did with DEAD
HOOKER, it wouldn't have been possible to make another film. We went
back to work after wrapping the first film, working long hours to pay
off the huge debt we put ourselves in, putting money back into the film
first, then still cutting and working on getting it released between
shifts. People stood by the film and got the word out. By the time that
the film went to the market, major studios had already heard about it
from the online and festival reaction. Making films was a dream of mine
and Jen's and now that's a reality, and I owe it to everyone who has
supported the films, I can never thank them enough.

J: The fans have all the power. We might not feel that way all the time,
but it's true. When we made DEAD HOOKER, we were virtually unknown
filmmakers. We were first timers that made an indie, uber low budget
film and let me tell you that that not only closes a lot of doors, but
slams them in your face. Hard. It's the fans that embraced DHIAT that
made it into the success that it has become and it's their support that
made it possible to make AMERICAN MARY. They demanded another film from
us. We'd mention AMERICAN MARY in interviews and they just went rabid
over it. It's that demand and support that's made it all possible. I'm
still blown away by our followers. They're just the best people in the
world. Everything we do we do for them. They make it possible for us to
continue to do what we do.

There is a lot of heart in your movies, and Dead hooker in a trunk is
incredibly reminiscent of exploitation movies from the seventies. Was it
a conscious decision to use exploitation movies as an influence, or is
it something that just came about whilst making the movie?

S: DEAD HOOKER started as a faux trailer that we made as a final project
and a fuck you to the film school that ripped us off and wasted our
time. It was inspired by GRINDHOUSE, that was in the theatres at the
time and was real film school. We played it as our own project at
graduation to a huge reaction which made us decide to make it into a
feature. We knew we had little to no money for the film and that it was
going to be the same people crewing as acting in the film, so the
grindhouse style really played into what we were doing and how we would
tell our story.

J: It was us winking to the camera. Indie filmmaking really lends itself
to the whole style of Grindhouse and much on the time in those films
you see filmmakers using creativity over cash to make it happen. We
never write for a budget. We write and then figure out how we're going
to pull it off.

What do you think of your (deserved) near iconic statusas horror directors after only two movies?

S: It's fucking weird. We've been working in film as actresses since we
were little girls and nothing really hit home. We started directing at
23, now we'll be thirty at the end of April and it feels like the last
seven years just flew by. I'm happy that people are enjoying the work.
We have a lot of cool stuff lined up with original scripts as well as
big screen adaptations of one of our favorite artist's work, so we
promise to keep making different cool stuff for the people who dig what
we're doing.
J: It's a massive honor. I sometimes just stare off and think about it
and can't even come close to believing it. It's a dream come true in
every way. to have so much support and influence, I feel we really owe
it to our supporters to deliver the absolutely best product possible and
always keep them guessing what we'll come up with next. In a sea of
remakes and sequels, we're very into shaking things up. We've got a lot
more in store and we're not even close to pulling off everything we want
to do. We're just getting started.

Tell us about the making of Dead Hooker in a Trunk and American Mary.

S: DEAD HOOKER was grindhouse, completely volunteer with people who
wanted to see something different get made. It was zero budget, but we
ended up spending $2500 on the film, and mainly got in debt from taking
the time off from working and having bills pile up from marketing the
film and traveling to sell it. You get in some pretty desperate times
when you start off, but if you love it, it's all worth it. We were in
every department. We would hire the actors, get the locations, set dec,
bring food, bring costumes, go through the motions of the scene, check
the footage, shoot the day, clean up the set, and go home and dump the
footage. We learned how a film exists in wearing so many hats. Then we
had MARY where we literally had the best people in the business heading
every department and making up the crew. We had limited time and a
modest budget, but with this team, it didn't matter, there wasn't
anything we couldn't do. We planned everything out meticulously,
storyboarding, and making shot lists and planning the holy hell out of
every day because we knew there would be no reshoots or ability to fix
things in post - if we didn't get our day, we would be letting everyone
down.

Both sets and both films were far more ambitious
than our means to make them, and yet, everyone came together to make
these very unique and special films.

J: The best thing about DEAD HOOKER and having that indie, DIY
background is that we really learned to roll with the punches. As soon
as a problem comes up, you need it solved and you don't have time to
stop and give it a good long think. I love martial arts and we've both
trained heavily. There's this term, "munen muso". It means the state of
mind where worries, attachments, fears,
and mundane thoughts have been purged from the mind so that the natural
intuitive mind can respond unhampered as the situation requires. That's
how you need to react. You need to just react. It has to be instinctive
and DIY filmmaking really fine tunes those reflexes.

No
two sets are alike. The problems and challenges you plan for never come
to pass. It's always something out of nowhere and often it's stuff that
is just so insane you couldn't even fathom it. I do have to say it was
outstanding to be surrounded with such an experienced crew. They were
all masters of their fields and I cannot say enough good things about
them. They are the reason that AMERICAN MARY was even possible. Without
even one of them it would not have been possible. Everyone went above
and beyond to make it happen, many of which volunteered their time or
put their own money in to help out. The love that they put into the film
just pours from every frame and I cannot wait to bring them together
again on the next one. It was a huge learning curve from running around
with a camera and now having this incredible force behind you.

How did the experience differ on each movie?

S: Having a team and a budget means you can put your focus where it
needs to be, on the film, its look, the story, and the performances.
MARY was meticulous, HOOKER was whimsical. Both films had one thing in
common, no one was there for the money. Everyone who came out and worked
on the film worked on it because they loved the stories and wanted to
make sure they came out right. I think that's what makes the films
special because you can see that dedication from the team in every
frame. I love my team so much - I'm dying to get back to work so we can
be reunited.

J: Every film is different. You learn from each one and obviously take
your lessons and found wisdom with you, but every time it's like the
first time. Having an army behind us in MARY was the biggest difference.
It felt like being an Avenger with SHIELD behind me, ha ha. Actually,
that's a very accurate way to describe it.

Unbelievably you had people complain about the title of your first film. How do you feel about this, and how do you feel about censorship in general?

S: I didn't expect it because it's a satire. It would be ludicrous
to give a film that title and not have some sort of socially responsible
commentary to how we treat prostitutes and how they are constantly
murdered with little to no effort put into bringing their murderers to
justice. We live in Vancouver where the Pickton Killer was at large in
2007 and the police were remarkably unaffective in bringing him to
justice. In our film, there is a commentary on that, the police are
useless in the film, and this younger generation of people who are in no
way unflawed decide to put this dead body they find to rest. The
violence in the film is cartoonish, until the Hooker's death scenario
where the film takes a decidedly darker tone as she is taken apart for
two song lengths. We didn't create the term 'dead hooker in a trunk',
it's a joke. But we didn't want the title character to go on through the
film unhumanized. Yet, the title of the film kept many festivals from
even viewing it, and got it banned in Saskatoon with HOBO WITH A SHOTGUN
and THE TAINT because it is far easier to hold artists on trial for
their films than seek out true justice in real world matters and horror
has always been an easy scapegoat.

It's a misappropriation of time and effort to focus
changing the world by censoring art. We have a ratings board, if you, as
an adult, do not wish to see a film, don't see it. But taking away
something that you don't enjoy watching from those who would doesn't
make sense to me. Society is only strengthened by a free flow of ideas.
We can't villainize people for thinking different from us, even if we
don't agree with something, diversity is important to our culture. A lot
of censorship is done for the wrong reasons and hurts artists, but I
was amazed at the outpour of support we received around the world when
our film was banned. It's good to see that people won't put up with that
shit.

J: Sylv said it perfectly. It plays into the theme of AMERICAN MARY and
our tagline. Appearances are everything. People are so judge~y. You make
assumptions and jump to conclusions you're going to reveal your
ignorance. You can't judge a book by its cover, a film by its title, or a
person by the way they look.

Censorship breeds ignorance. The world is indeed a beautiful place
and life is a gift to be cherished, but that doesn't mean that there are
some unspeakable horrors in this world. Art imitates life. As artists,
we should be saying something with our work and at times that means we
have to turn a mirror on the world and expose its darkness. Censorship
just throws a big blanket over the horrors of life and the world and
says, "if we don't see it, it doesn't exist." We need to be active in
making the world a better place rather then hiding the bad parts away.
It becomes an elephant in the room. Just because we don't talk about it,
doesn't make it go away. The shitty parts of life and the horrendous
acts that are committed across the world need to be exposed and we need
to have a dialogue about it. I'm appalled when a film comes out and the
filmmaker is blamed for the acts in the film. Films are make believe,
they are saying something about the acts that are depicted in them. We
should all strive to think for ourselves and be informed adults. More
so, I find it disturbing how much children are sheltered these days.
Kids have more access to information than ever before and we are in no
way depriving our kids of a childhood by making them informed. Kids are
all different, albeit, and capable at different ages dependent on the
individual of being able to understand complex ideas. If parents don't
educate their kids about mature content, they will get their education
somewhere else and I feel it's a parents responsibility to be the ones
to teach their children and answer their questions. Even the hard ones.

The premise of both of your movies have been incredibly intelligent and original. Is intelligent and original filmmaking something you both want to bring back to horror?

S: When Jen and I grew up watching horror, falling in love with the
genre, the stories were original and intelligent. Now the technology of
making a film, how a film is made had overshadowed the story that is
being told, hence the onslaught of remakes and paint-by-numbers
unoriginal horror. It's gotten to an almost depressing point where the
word horror is synonymous with 'crap' because that's what the studios
are pumping out at an alarming rate. Fads go in cycles, I think a lot of
fans are bored by the films being made and they are fighting back with
original storytelling. I'm hoping that becomes the new fad and we can
see a brilliant new age for horror films coming to life. I hope with the
success we've seen with our films, it makes studios and distributors
seek out the storytellers that are out there.

J: Horror should be intelligent. It should have a reason to exist that's
more than just for the sake of making a film. It should be artful. We
forget that in the sea of "paint by numbers" horror. You see a lot of
that in North American horror. Horror here has become like this dirty
word. SILENCE OF THE LAMBS, THE THING, DEAD RINGERS, THE SHINING....
there have been so many clever, haunting, beautifully done horror
movies, but somewhere along the line they just started to be about blood
and boobs. I'm clearly not against either, but either being used for
pure shock value and without substance is just a waste. There is still
intelligence and originality in horror, but you have to look
internationally or independently. I SAW THE DEVIL, REC, LET ME IN,
AUDITION... there have been so many incredible international films.
Independents like MANBORG, PONTYPOOL, SPLINTER, DONKEY PUNCH, GRAVE
ENCOUNTERS, THE LAST WILL AND TESTAMENT OF ROSALIND LEIGH... they're
just amazing! But you have to hunt to find them because they don't have
the millions to market themselves like the latest big Hollywood piece of
shit. I hope we are even a small part of bringing originality and
intellect back into fashion in the horror scene.

Could you both tell us your influences in movies, and perhaps list some of your favorite genre films?

J: Oh! EVERYONE and everything Sylvie just mentioned! I'd add GRAVE
ENCOUNTERS, THE LAST WILL AND TESTAMENT OF ROSALIND LEIGH, DEAD
RINGERS, REC, and Joss Whedon. He's a huge influence on us. And it's my
list so he totally counts, especially with how he redefined the final
girl in BUFFY. Stephen King, but I imagine that one's fairly obvious.
Anne Rice and her vampire chronicles were what we had instead of
TWILIGHT. I wish those books got the attention that TWILIGHT has.
They're infinitely better in every way.

Why do you think women have such trouble getting recognized in horror circles? Are they not taken as seriously as male filmmakers?

S: I think there are many misconceptions on who likes horror, who works
in the genre, and who the audience is. Women have been a part of horror
filmmaking since Alice Guy was the first director of fictional cinema
and went on to work on over 700 productions, creating the Solax Film
Company on the east coast, the biggest film organization that rivaled
the west coast's Hollywood. It is a predominantly male industry, at
least in the regards to people who get the recognition and celebration
of their works, that's why I am honored to be a part of Women In Horror
Recognition Month that focuses on female artists throughout history and
their contributions to the genre. I've met misogynistic assholes while
working in film, but I've also met them while working at Starbucks,
there's a lot of them in the world but thankfully like many dinosaurs,
they are dying off and replaced by forward-thinking humans that are more
interested in individual merit than genitals. From my experience, men
and women are excited to have more female artists getting recognition in
the genre, more on unique story telling and work than just being female
artists. There's a trend of support for one another, Jen and I have met
heroes from the genre and the well known male horror icons have been
very welcoming and supportive of us and our work.

J: I am happy to say that every male director and writer we've met has
fully welcomed us into the boys club. I think there are still real
assholes out there and I've met and worked with my fair share, but they
are dying out and no one wants to work with someone who is a poison. And
that's what these misogynistic pricks are. A disease that poisons and
destroys everything they touch. This business can attract monsters.
People that get easy access to hopeful young people that are desperate
to make their dreams a reality and most of these hopefuls make easy
prey. It's not everyone, but everyone should be aware they're out there.
It's why the horror stories exist. They ultimately do reveal themselves
and after you meet a few, they're easy to recognize. They're just
miserable human beings and you can't let your experiences and encounters
with them put you off. They're a dying breed.

What do you find harder? The film making, or the tireless promotion you both seem to put yourselves through after the film is made?

S: Because of the way we started in this industry with being with a film
from concept to execution to final distribution and everything in
between, we know our commitment to a film is a matter of years. Our
focus is on the films before anything else and you have to make a lot of
personal sacrifices in order to really prevail in such a career, but
it's also one of the most rewarding experiences even with all the
challenges, so it feels like work but it's so second nature to us at
this point. I love what I do, I'm blessed to have these opportunities.
All of it is exhausting to some extent, but I'm very mathematical and
looking at the big picture. Creating a film is exciting, it's
invigorating even though there is little sleep, high stress, and even
higher stakes. Non-stop travel for work can be physically exhausting,
but getting to meet the people who have supported you in the flesh and
sharing stories and experiences - that's a reason why you make films in
the first process. The only hard part of anything is when you don't have
everyone on the same page, you work five times harder with a bad
partner than a good one and I'm lucky that I was born with a phenomenal
partner for all this craziness.

J: I love both and I am so lucky to have had the opportunity to travel
so much and connect with the people who make it all possible, our fans.
Both come with their hardships. Making a film is dependent on who you
work with. Always surround yourself with good people. Ask around.
Always. If you don't know someone, ask around and take heed of any
horror stories. Again, they exist for a reason. You work so much harder
with bad partners. Avoid them at all costs. Making a film should never
be just a battle, but it happens. I'd say the promotion can be hard
because we never turn down a chance to promote or connect with people.
We can get pretty exhausted, but I have such an amazing support in Sylv.
I don't have to face any challenge alone or embark on any adventure
alone. I don't know what I'd do without her. She's always there for me
and we can easily continue to divide and conquer together.

How did you both get into filmmaking?

S: Unintentionally. We have been acting since we were seven, nothing
exciting ever came of it. Our resume was filled with stereotypical twin
roles, so we decided to try our hand at stunt work because of our
extensive martial arts background. That led us to an excellent
outsourced stunt portion in something that was not the film school it
advertised itself as being. It was the final straw in a line of industry
disappointments. When the funding for our final project got cut, we
decided to make a final project that we directed, wrote, acted in, did
the stunt work for, and crewed just to make something that we wanted to
see get made. It started as a fake trailer and became a feature. We just
wanted to see it through, so we dedicated all of our time and resources
into it. Five years later, it has toured the festival circuit, gotten a
limited theatrical, been released on DVD, and has had its television
premiere. We wrote more scripts and kept our focus of creating a career
for ourselves.

J: I honestly didn't realize it was an option. All of our life
experiences and odd jobs and weird skills that never seemed to go
together. It all fell into place when we found filmmaking. It felt like
it was a path we were on long before we even realized it.

Do you have an agenda/ethos with your movies?

S: There is a reason why the film exists, more so than I just want to
make a film. It needs to have a philosophy, reason to exist, some sort
of commentary on something in order for me to have a passion to make it.
You are with your films for a very long time, there are years of a very
strong focus on each film and then it becomes a part of your life -
it's important for there to be something more there that you're
dedicated all that time and effort into.

J: We like to make people think. We want people to feel something when
they watch our films and take something away from it. You know that
feeling when you leave a film and you just have this film watching after
glow? I LOVE that! I want to make that happen. I love when you can sit
down and grab a coffee and pastry and just chat about what you just saw.
It's what every film should aim to do. In too many films and
entertainment, the audience is told how to react and what to think. They
throw in utterly useless laugh tracks into everything. I want our work
to inspire thought. I think good art is interpretive. It should be in
the eye of the beholder. It also means that our audiences either
passionately love or hate our work, but that's okay. At least there's
passion and feeling there.

Can you tell us about how the story of American Mary, and your interest in body modification came about?

S: We stumbled upon, unbeknownst to us at the time, an April Fool's
prank that featured two identical twin brothers who had swapped limbs in
an extreme body modification procedure. Along with a photo diary, there
was a story from the brothers that accompanied it that said you would
have to be an identical twin to understand why they would want to do
this. It scared me. My mother taught us from a young age that if
something scares you, it's because you have a lack of knowledge about
the subject. So, we studied it. Our fear turned to fascination, to
admiration. Here was a group of people focused on self expression who
are one of the most villainized and misunderstood groups out there. We
wanted to have them reintroduced to the world in a film that focuses on
the people they are and not the monsters that the media would witch
hunt.

J: It had been such a long time interest of ours. I never even imagined
we'd end up making a film with such heavy body mod influences all over
it, but it was a really big part of the story we wanted to tell.

Was it hard finding the right actress to portray Mary?

S: We wrote the part for Katie. We had been fans since GINGER SNAPS and
continued to watch her career, but were frustrated to have our favorite
actress not in more multi-dimensional interesting roles because she is
so talented. It might sound cruel considering the film, but everything
that happens in AMERICAN MARY was something we wanted to see Katie do
and knew she would be killer in.

J: We never write for anyone and we knew how important and vital to the
film the role of Mary was. We wrote it for Katie and never even
considered what we'd do if she turned it down. We'd long been in love
with Katie as an actress. She has this outstanding depth and maturity to
her work. She can convey so much emotion with such subtlety. She walks
into a room and you notice. She just has this indescribable quality to
her. Either you have it or you don't and she has it in spades. I just
love her. We're far from through working together.

What were the advantages/disadvantages of having two writers/directors on set?

S: Jen is awesome, so it's an advantage. Having to deal with me is
probably a huge disadvantage for her. We're born collaborators, so we've
always tried to work together, we do well as a team, we're a unified
front even though our personalities are vastly different, we share the
same passions. We're so close that it really is like having the same
person in two different bodies. Nothing would be more confusing than
having two directors that look the same that are saying two different
things, but we're so on the same page that it rarely happens. If we do
disagree, we simply talk it out and come up with a solution, but we
pre-plan everything extensively so it is rare.

J: I imagine if you have two people with contradicting ideas, it can be
very difficult having them both on set, but Sylv and I have a very
definite vision. We're two very different people and take very different
paths to get to the same destination, but we are unified on set. We've
never had the luxury of time, you never really do, so we have to be one
about everything.

Can you tell us what you are working on next?

S: We have an original monster film called BOB that puts the focus on
practical effects being a part of the story telling process. The tagline
is: There's a monster inside all of us, sometimes it gets out. We are
very lucky to have had the support that we have with MARY, so a lot of
very cool opportunities have been presented to us. We're going to be
very busy for the next few years.

J: We've got quite a few projects on the way and were recently announced
in the incredible line up of talent on THE ABCs OF DEATH 2, but we
can't talk about any of it just yet. For now, our crimson lips are
sealed, but like with everything, when we can make some announcements, we
will and they'll be loud ;)

Many thanks for answering these questions. I feel incredibly proud to have interviewed such talented people as yourselves.

S: Thank you for accommodating our crazy schedule and taking the time to chat with us!

J: No way, thank YOU, Dani!! You are fucking awesome. We're so happy to chat with you! Anytime :)

Leprechaun is, in my opinion, the greatest horror film set in Las Vegas. As well as the magnificent setting, which brings Las Vegas to life on screen and focuses predominantly on a casino, the movie also features a more prevalent humor than the two previous films. It also comes across as a hell of a lot more fun than what went before. It really is my favorite movie in the whole franchise, and the fact it features Texas Chainsaw Massacre 2's Caroline Williams makes it all the better.

A man brings a leprechaun statue with a medallion around it's neck into a pawn shop. The owner of the pawn shop is warned never to remove the medallion, but of course, he doesn't listen, and unleashes the small green fellow upon the city of sin. A young man on his way to college visits the pawn shop and comes across one of the leprechauns gold coins, and takes it . It is said in this movie, that anyone who possesses a coin will receive a wish. The boy takes it to a casino, and the leprechaun follows him there, finding a den of sin that bring the leprechaun to life like we have never seen before!

One thing you can be sure of is that no rules previously set in any of the previous Leprechaun movies will be carried over to the sequels. For example, in the original movie, the only thing that could kill the Leprechaun is a four leaf clover. In the sequel, it's wrought iron that is the only thing that can harm the leprechaun, and in Leprechaun 3, the only thing that can stop him is destroying his pot of gold.

The setting of Las Vegas, while not creepy in any way, shape or form, definitely adds a sense of fun to the movie, as the casino is filled with all sorts of bad seeds who are trying their luck trying to win big, and when the leprechaun comes along and grants them their wishes, all many of gruesome hilarity is unleashed.

The kills in this movie have to be the most creative of any of the Leprechaun movies. They are of course over the top and filled with blood and gore, but that just adds to the fun factor.

I know the Leprechaun movies are pretty much slated everywhere, but ever since they were shown on British TV channel Bravo many years ago, I have loved the franchise. And I really don't think that will ever change.

Friday, 17 May 2013

Anyone who has heard of indie cinema has heard the name Ron Bonk. The man truly is a legend in the indie horror genre. I was lucky enough to get to ask Ron Bonk a few questions, and what follows is the interview with one of the biggest names in indie cinema.

Tell us, how did you get started in the movie industry?

I grew up
making up my own stories and acting them out with friends. I loved
movies, I loved the whole movie going experience, the escapism. I went
to college for different degrees but near the end of school I made the
stark realization that I should have pursued film making... then
proceeded to jettison my college degrees to do just that. I couldn't
afford to shoot on film but lacked the experience with it, so opted for SVHS after finding out there were filmmakers shooting and releasing
their movies on that format.

How important is indie cinema?

Very important! I think Indie
cinema often serves as a testing ground for styles, subject matter and
topics the Hollywood studios often won't touch right away.

Tell us about your influences and inspirations as a movie director.

When
I started my "career", so to speak, I was heavily influenced, and still
am, by the works of Alfred Hitchcock, Orson Welles, George Romero and
John Carpenter. I like their styles but I also often prefer their
stories and social statements, especially in the cases of Romero and
Carpenter.

You pretty much got into self distribution right away. How did you do this, and what can you tell us about SRS Cinema?

Well
I started with a special interest video on the antique business. I
sent it in for a review with "Library Journal" and they gave it a
glowing one. After that, orders started pouring in from chains of
libraries in various states. After I made "City of the Vampires" I
found there were only really like 2 S.O.V distributor's left, and one of
them, Tempe, was getting out of the business. Tempe's head honcho, J.R.
Bookwalter gave me some advice, and then I ran wild from there and just
learned as I went along. I'm still learning. Distribution has been a
necessary evil, I'd rather distribute my own flicks than trust another
distributor, and distributing makes me money to keep a roof over my head
and to keep making movies.

You are an incredibly prolific producer as well as director. How is it
working as a producer? Is it a hands on job, or do you let the
filmmakers find their own way?

Very hands off. Often I just give the
filmmaker a title and synopsis and then run with it. Unless the movie
is made in my area I rarely visit the sets. I just wait for updates and
wait for the movie to be turned in. I like being a producer... I have a
lot of ideas and can't get to them all myself, and often they are
pretty crazy ones I likely wouldn't make myself anyway, so it's nice to
see them come to life. Many though are the filmmakers ideas from start to
finish, and I like helping them get their ideas to screen. I like the
list of movies I produced... so many crazy titles!

What are your favourite movies?

My favorite's ever are "Star Wars",
"Dawn of the Dead", "Assault on Precinct 13", "Psycho", "Escape from New
York", "The Thing" (original), "Martin", "District 9", "Evil Dead"
(original) and too many more to list.

What makes someone so successful in the world of Indie cinema?

Hmm, tough question... a lot of talent, a lot of hard work, & a huge stroke of good luck at just the right moment.

There has been a very large increase for the demand of VHS tapes, and
you seem to be at the forefront of this, releasing many limited edition
VHS tapes for your fans. Do you think this will last?

I think so,
look how long Vinyl has been back, and it's still growing in popularity.
Displaying these great old covers, and new ones, it's like art, and I
think the fans will continue to grow. There's always new fans growing
up and into this stuff who will seek VHS out and discover all these
great classics flicks, many never released on DVD and more even never
making it on any of the more popular VOD channels.

What are you working on at the moment, and what is next for Ron Bonk and SRS Cinema?

I'm
editing a short for the "HI-8" anthology project called "Gang Them
Style", and it's a nod to Romero and Carpenter flicks. The producers
said to make a short inspired by the movie that made you want to be a
filmmaker, so I did that, to many movies that inspired me. I'm also
editing a 70's style Grindhouse flick called "She Kills". Trailers will
be unleashed soon, and the poster got a great reaction when we
unleashed it a few months ago! There's another movie I produced and was
very hands on with called "Night of Something Strange" that's editing
now too (by the filmmaker Jonathan Straiton). I plan to edit "She
Kills" over the summer and work on a new script or two. Not sure what I
will direct next. In between all that, just releasing more and more
VHS and DVD's.

Is there anything you would like to say to all of your many fans out there?

I'm
just very grateful for the awesome support. It especially pleases me
on behalf of the many filmmakers I work with - they love the excitement
and new interest in them and their old movies. I'm glad they are
enjoying it as much as they do, and that their fan bases are expanding.

A friend recommended getting in touch with Joshua Bruce, creator, writer, director, producer and special make up FX artist on micro budget movie Burn in hell!. The movie cost $300 to produce, and is nearing the end of principle photography. The cast features Mike Zapcic and Ming Chen of Comic Book Men on AMC along with numerous local actors. I became interested in the movie after reading the brief synopsis given on the films Facebook page, and got chatting to Joshua, who I then sent some questions to, which he was kind enough to answer. So here is the interview for you all to take a look at.

Please introduce yourself.

I am Joshua Bruce, Jersey-based indie horror/Grindhouse filmmaker.

Tell us about your movie, Burn in Hell!.

Burn In Hell! is centered on a small town in fear of killings which
have been plaguing the townspeople. Bodies are found torn apart and
gruesomely eaten. A high school football player, Brad, aided by
metal-head D.O, goes on a revenge-driven hunt for the killer, a massive
demon with a taste for human flesh. It's pretty much a homage to 80's
straight to video horror films.

How smoothly did the production run on Burn in Hell!?

Production was on and off for several months, then it became daily. It
wasn't too straining, although some actors were exhausted.

Did you find working with such a small budget difficult, or did it make
you work even harder and strive to get the best out of everything?

I found working with such a small budget, micro-budget even, to be a
interesting challenge. All the FX, wardrobe, and props were made (or
purchased) on a shoestring.

As a film, "Burn In Hell!" marks my first real venture into film-making.
I made numerous short films prior, but none were as thoroughly planned
out as this.

When did you first become interested in working in the horror genre?

I first got into making horror films at age 7, and have kept on crafting those sort of films since.

What are your favourite horror movies?

The Keep, Rawhead Rex, Evil Dead, Father's Day (the Astron 6 one),
Street Trash, Basket Case, Creepshow, Silver Bullet, and so many many
more. Oh, and The Goonies.

Who are you influenced by?

Dario Argento, Jason Eisener, Astron 6, George Romero, Tom Savini.

Do you have any funny stories about the production of Burn in Hell!?

Yes, ahaha, a few. We were filming a scene where my character flips a
shotgun, and I smacked myself in the side of the head with it on the
first take. On another day, we filmed a shot on a dock, which almost
tipped over!When will the movie be unleashed upon the general public?

Burn In Hell! is set for release this summer.

Do you have anything else to say to anyone reading this?

To all the other indie horror filmmakers out there, keep making those
messed-up films. I would also like to add that some buddies of mine did
portions the soundtrack and acted in the film, who have their own band called
Chariot (soon to be renamed Bad Acid), so I just wanna give those dudes a
shout out.

Thursday, 16 May 2013

It is becoming increasingly rare in the horror genre to find a way of telling a story and still surprise people. The cliches of all of the many sub genre's of horror are pretty much set in stone, but when something does come along and surprise you, then I believe it should be shared.

Twisted Tales of Madness and Murder is a comic book first and foremost. The first of these is called The Resolution. It is also one of the most twisted and shocking tales I have ever read in a comic book. And to say this is only the first issue, and another nine have been written.

The story, written by Rick Tobin moves along at such a brisk pace it gives the reader little time to breath, suffocating the reader with brutal torture, a corrupt detective with no moral compass, and some incredible and completely unexpected twists that I didn't see coming.

The artwork by Tadd Galusha is fluid, capturing every emotion involved in the story and bringing them to life, but also capturing the horror incredibly well, bringing the reader even deeper into the story and connecting with the characters in the story.

I for one am incredibly interested to see what the next story brings, because if the first one is anything to go by, we are in for one hell of a ride. Never has a story managed to bury itself so deep into my subconscious and make me feel like I want to turn away from what was going on. That is an incredible achievement, and one that deserves to be seen by every horror or comic fan out there.

To read more about the synopsis, please read my previous post which you can get to by clicking HERE.

To download Twisted Tales of Madness and Murder from Amazon.com please click HERE.

To download Twisted Tales of Madness and Murder from Nook, please click HERE.

To download Twisted Tales of Madness and Murder from iTunes, please click HERE.

To download Twisted Tales of Madness and Murder from Amazon.co.uk, please click HERE.

Wednesday, 15 May 2013

Twisted Tales of Madness and Murder is a new comic book Written by Rick Tobin, with artwork by Tadd Galusha. There are ten stories written, the first of which is called The Resolution. The artwork for the second story is nearly halfway done, which is good news for anyone looking forward to reading more of what looks to be an incredible series.

A reoccurring character in each of the stories will be Detective Spurlock. He is a tormented cop with a heavy cocaine addiction and a penchant for prostitutes. He is more than willing to turn away from crimes, if you can pay the price. Underneath his tough exterior, Spurlock is a man haunted by his own demons. Demons that threaten to take him down and destroy his very existence. As he weaves his way through one crime scene to another, he leaves his own trail of destruction in his wake, creating one twisted experience.

Page one of Twisted Tales of Madness and Murder:- The Resolution.

Here is the synopsis for the very first tale, The Resolution.

It's New years Eve. Convinced he has found the love of his life, John proposes to Rebecca. To his utter shock, she turns him down. Not only does she not love him, but she has fallen for his best friend, and has been sleeping with him for a while. Humiliated and angry, John vows revenge.

One year later, he gets his chance. After kidnapping his beloved Rebecca, he brings her to his basement and his sheer madness is exposed. A knock at the door interrupts his gleeful torture experiment, and to his amazement, a dizzy grocery store clerk has arrived... with a bottle of wine and a hopeful invitation to share it.

But Katie has a secret of her own. One that will forever change the lives of John and Rebecca, and make this New Years Eve one for the front page news.

Page two of Twisted Tales of Madness and Murder:- The Resolution.

You must go over and check the website for Twisted Tales of Madness and Murder out, as there is a trailer for what hopes to be an anthology of horror segments, all linked together by Detective Spurlock. You can also donate to the movie to help get it made! To visit the website, clickHERE.

You can download the first issue of Twisted Tales of Madness and Murder by clicking any one of the following links.